What he's doing with painting--let's just put it this way: at the Whitney Biennial, the "Down By Law" exhibition in the Wrong Gallery, Jules' painting with the sausage-fingered politicians holding a press conference is next to a Mark Lombardi drawing about the exchange of finances between huge powerful figures in a format of incredible critique, whereas Jules is completely on the surface, and it seems to be a trend. I wrote a favorable review of Jules for the Rail , where I tried to engage his larger narrative in context, but in terms of achieving that art stardom, I wouldn't say he's my arch enemy but my competitor. He doesn't know it, and the art world doesn't know it, so it's nothing unless it becomes real. I originally labeled Jules an enemy in a drawing I did for the Aqua Art Fair, a Miami Enemies List.

I haven't seen the new show, because the work just seems to be the idea of critique. Enemy? Maybe not personally for my part, but his rapid ascent to the top of the painting heap made me suspect of the entire art world. I'm sort of loving the comparisons between Jules's vacant canvases and Michael Cline's version of painting. I can't say I'm a fan of Cline either, but it's interesting to see people taking sides.

Martin,Was that quote from the PS1 interview? You should dredge up that Rail review, I was digging deep for a critical reading. Didn't want to say a word about the aesthetic.

I don't think it is possible for french people to be "hardcore"-cept for piaf and genet and,..a host of folk from a long time ago...or could I be totally wrong-but as painters,yeah.Its been a long time...